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^Q^ [작성일 : 2014-09-11 13:16:19 ] 
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Once Upon A Time in Seoul, Bye Bye Nam June Paik at the Media Bridge Exhibition Closing Finale Party






원래 이글은 백남준 한강 기념 다리 미디어센타 건립기념을 축하하는 날 시작한 내용이였습니다. 백남준 선배는 한국의 비디어아티스트로서 유일하게 세계적으로 알려진 분입니다. 이글은 그분의 공적을 폄하하거나 부정하려는 의도는 전혀 없으나 국내외적으로 Fluxus에 관계된 몇가지 점을 집고 나가고져합니다. 우선 원문을 도입하겠습니다. ..


The Fluxus Manifesto
By Fred Camper

"IN THE SPIRIT OF FLUXUS"
at the Museum of Contemporary Art, through January 16
FLUXUS: A CONCEPTUAL COUNTRY at the Mary and Leigh Block Gallery, Northwestern University, through December 5

Five years ago there was a conference commemorating the 20th anniversary of the protests at the 1968 Democratic Convention in Chicago. The original leaders were scheduled to attend, and many lectures and symposia were listed in the ads, but anyone who read them carefully had to have been struck by the irony of a line at the bottom announcing that tickets could be purchased through Ticketmaster. Museums face a related problem mounting exhibitions of the Fluxus artists of the 1960s and 1970s. In commemoration of the (approximately) 30th anniversary of Fluxus's founding, five Chicago institutions--the Museum of Contemporary Art, the Mary and Leigh Block Gallery at Northwestern University, the Arts Club of Chicago, Gallery 400 at the University of Illinois, and the School of the Art Institute--are offering exhibitions, lectures, symposia, and performances, though at $20 for some of the performances, many people will be excluded. The word "fluxus," connoting continuous flow or change, was coined by founding spirit George Maciunas in 1961; he planned to use it as the title of a publication. In 1962 performances in Wiesbaden, West Germany, were mounted under that name. Soon a wide variety of artists associated themselves with the term: from the beginning, Fluxus was international, with adherents in North America, Europe, and Japan. The art was improvisational, anti-institutional, antiauthoritarian, often humorous. Fluxus artists worked in a wider variety of media than any other "movement" I know of; the MCA and Block Gallery exhibits include posters, books, musical scores, musical instruments, records of performances, sculptures, installation pieces, found objects, board games, films, videos, interactive displays--there's even a machine that dispenses Fluxus stamps.

Unfortunately most of the works in these exhibits cannot be experienced as originally intended. To its credit, the MCA has included many "interactive" displays: some works can be touched, and one of them allows the viewer to make music; books and magazines can be picked up and read. But in both shows there are games, books, boxes that were intended to be handled that are frozen in one position and behind glass. This is a practical necessity, but the result is at times alienating--the opposite effect to that originally intended. Then, too, both exhibits are huge--the MCA has over 1,000 objects--and there's much to read: texts of various kinds, including instructions and scores for performances. If one tries to see everything in either show on one visit, the effect can be a bit mind-numbing.

Still, both shows are very much worth repeated visits: not only is the best of the work superb, but the ethos behind much of the work is refreshing, even inspiring. Influenced by earlier radical innovators of this century--the Dadaists, Marcel Duchamp, John Cage--Fluxus artists generally rejected conventional Western aesthetics, in which a network of relationships between the subject matter and color, line, and space creates beauty and meaning. These artists strove to create instead an art that is simpler in its means, more direct in its appeal to the viewer, often interactive, and closer to daily life.

Most of the original Fluxus artists denied that it was a "movement," preferring looser terms, such as a "tendency." Fiercely individualistic, even anarchistic, some of these artists--including a few in these shows--soon disassociated themselves from Fluxus. It's also been argued that some work made before the official christening in 1962 and after Maciunas's death in 1978 exhibits a Fluxus attitude. Obviously there can be no rigid definition, though a number of characteristics describe, in varying degrees, much of this work.

Like many art movements before and since, Fluxus had some of its roots in younger artists' disgust with the current artistic and social order. Thus some of this art explicitly negates established forms. The highly structured, hierarchical nature of past art is attacked in Dick Higgins's 1,000 Symphonies (c. 1963, at the Block Gallery; works not so noted are at the MCA): three sheets of music paper contain many staffs labeled for various instruments, solo singers, and a chorus, as if for a giant, Mahler-sized work. But there are no notes, and the pages have been ripped (supposedly by a machine gun) and spray-painted gray. Higgins said he was protesting the "imposition of one will over another in the most dictatorial and technical way"--the performance of classical symphonies of course requires a highly disciplined orchestra, who must all surrender their own wills to play the piece.

Similarly, many Fluxus artists were antinationalist. Ken Friedman and George Maciunas's Visa TouRistE, Passport to the State of Flux (1966, 1977; Block) is an imitation passport in which "the Minister for Fluxfests requests all those whom it may concern to allow the bearer to pass freely." Artists' references to their own countries were usually negative. Maciunas's U.S.A. Surpasses All the Genocide Records! (c. 1966; in both shows) is an American flag with skulls and crossbones for stars; its red stripes print facts about the genocide committed by different nations--and the United States comes out on top. But the work doesn't come across as simply a propagandistic poster because we read it first as a flag, then see that it represents the opposite of what a flag traditionally stands for. Not surprisingly, several other pieces also subvert flags.

While many American Fluxus artists had socialist sympathies, those from other countries often opposed their governments, too. Czech artist Milan Knizak's Relic (1970; Block) is a hammer and sickle made out of yellow foam, compressed on one axis to the point of seeming squashed. Especially in the context of approved socialist realist art, this can hardly express a positive attitude toward communism.

In its attack on the existing social order Fluxus almost inevitably turned to sport. Several "Fluxsports" were performed at Rutgers University in 1970. George Maciunas and Bici (Forbes) Hendricks made Flux-Stilts (c. 1970), which had baby shoes at the bottom, on which participants attempted to play soccer, presumably with little success. In Altered Ping-Pong Rackets (c. 1970) Maciunas modified commercial rackets in ways that undermined their intended function: one has a large hole in it, one has a series of small cups fastened to it, another is covered with thick foam.
Maciunas goes beyond the typical modernist effect of enriching the way we see a thing by defamiliarizing it--he implicitly critiques sports competition itself. Then and now, success in sports has often been tied in the American mind and language to success in politics and business--"Crush the competition," a certain ex-coach proclaims in TV ads for an electronics store. But for Fluxus artists free, imaginative, goalless play--actions performed for their own sake--are superior to actions meant to achieve a discrete result: struggling to play soccer on stilts is of more interest than a "real" game.
But the main tradition in Fluxus is neither negation nor social critique but rather affirmation. Maciunas's Manifesto (1962) alternates dictionary definitions of "flux" with a handwritten text: "Purge the world of . . . culture . . . of dead art . . . abstract art, illustionistic art . . . "; it goes on to advocate "NON ART REALITY." This is a key to the thinking of Maciunas and other Fluxus artists: they not only wished, like many other artists of this century, to blur or dissolve the distinctions between art and life--they wished to use art to help "all peoples," as Maciunas wrote, to redirect their attention to life.



일단 여기서 잠간 끊고 이글에 대한 해석은 다음 이어가면서 댓글 에서 하겠습니다만.조그만 담벼락에 너무 많은것을 담을려 하다보니 잘려서 날라가기도 합니다. 여러 평가를 조심스럽게 하나씩 하나씩 올리겠지습니다.
죤케이지, 듀샹 그리고 FLuxus를 이기회에 확실하게 공부하고 집고나가야 하겠지요?
< 이런점에서 백남준 선배님!은 기나미에게 아주 또 다른 큰 화두를 남겨 주셨습니다.
ㅎ, 기나미도 ㅁ머지않아 곧 무덤속에 들어갈 대열에 있기에 선배님의 혼령이 살아 있을 때 본인이 가고 난 다음
지금 용기를 내어 들먹이는 점을 이글을 읽는 분들은 이해해 주십시요.
하도 이즈음 세상 겆저리 인생들을 사는 본의 아니게 자의반 타의반
스스로 속고 사는 평론가 작가들이 많은 것 같기에
정신을 차려 일침(?)을 놓고 싶은 것 뿐입니다.

<선샹님! '예술은 사기' 라고 한 선배님의 말씀은 참 심했다고 생각이듭니다>
<선샹님! 그런 선배님한테 무얼 기대하시는 거죠?>
<역사의 잔인한 침묵 그리고 평가를 기대하고 있네.. [부관참시는 아니더라도 아닌것은 아닌것이야!].
임금님 벌거벗은 것을 뻔히 보고 있으면서 아닌것처럼 자신을 속이면 안되네..
아이들의 천진성이 선배들보다 이런경우 낫다는 게 아닌가.?
작가들은 꿀먹은 벙어리들이 되면 절대로 아니되네..
문제는 벙어리들 그리고 장님들이 너무 많은 것도 탈이야...
적어도 뉴욕은 이런 벙어리들 장님들은 절대로 통과 시키는 곳이 아닐세.. ㅉㅉ..
<썬샹님 너무 심하게 가시네요!>
맞아! 우매하게
공자 맹자 장자 부처님이 기나미를 이렇게 가르쳤다네>
이제 부턴 그리 쉽게 안 속을 것일세
<기대하질 않지만 너무 주위에 늑대들과 여우들에게 시달림을 받아서는 안된다는 교훈을 백남준 선배가 주셨지.
그 점에 있어서 참 대단하신 분이였어>
전시장에선 늘 후배들을 슬슬 피하셨지.
지금까지 참 여러번 함께 뉴욕에서 전시 했었는데.
.기나미를 보면.. ,그 분이 보시기에
<생략> 참 한심했을 것이야.
피아노를 절단..붓과 종이를 쓰레기에 버린 분 그리고 뒤늦게 붓을 되찾은 분 . FLUXUS, Dada란 일시적인 유행 원래 그런것이려니 생각하면서도 듀샹이나 벤자민과는 한수 더 낮은 한심한 존재로 보입니다. 이들의 행위는 항상 일회성 일시적이라는 점이기 때문일 겁니다.
. 클래씩이 어렵고 넘기 어렵다 치더라도 못하면 옆에서 하는 사람들을 지켜보면 될것이지.
왜 수천년을 내려 온 붓과 종이의 세계 남들이 열심히 좋다고 하는 소리의 세계를 그만 두라고 해야 합니까?. 쉔 버그나 존케이지 까지는 좋았는 데 톱까지 도원할 필요가 있었겠느냐 하는 점에선 심하다는 말 밖에 할 수 없습니다. 스쿠루 드라이버로 형상을 위곡시킴으로 타학적으로 욕구불만을 꼭 채우셔야 되나요? 역사란 서로 인정하면서 함께 흘러야 됩니다. 옆의 흐름들을 너무 과격하게 건드렸습니다, '휘트니뮤지움 Junk'들이란 표현들이 나왔습니다. 특히 동양 문화를 건드렸는 데 그 방식이 또한 이론적이질 못했습니다. 옛것을 톰으로 무대위에서 그냥 잘라 버려야 된다는 논리 붓과 종이는 버려야 된다는 논리는 도대체 어디서 나왔는 지 모르겠지만.. ... 동양예술론의 핵심인 붓, 서법 화법이론 세계에 기본도 갖추지 못한 사람들이였습니다. 사상과 이론의 근처에도 못접해 본자들이 동양미술을 이러쿵 저러쿵 왈가 왈부하는 모습들을 보면..아닌것은 아닌 것입니다.
Fluxus Movement에 관하여 몇가지 기사를 일차적으로 추려봅니다. 그동안 오래 뉴욕에서 현장에서 지켜보았던 후배로서 조금 있으면 허심 탄회하게 다른 후배들의 관점도 또한 올려지겠습니다..
비판적인 글이 될지도 모르나
각설하고. 옛날 이야기하나 합시다. 지금은 고인되신 중앙일보 김재혁 뉴욕특파원과 함께 백남준 선배님 스튜디오를 올라갔습니다.
처음 그러니까 처음 우리나라에 소개를 한 사람이 김재혁 선배였습니다..
뉴욕 속의 '한국미술'의 을 이야기 할 때 곧 이야기는 언급이 되야 할 것입니다. 다시 한국 이민 예술(Hybridization)을 논위할때 꼭 이 분의 이야기를 포함 시킬 기회가 주어져야 할 것입니다.BR> <에효! 썬쌍님! 공연히 본전도 못 추릴 일을 왜 하시렵니까? 그냥 넘어 가세욥! 그럴시간에 창고에 있는 미완성 그림이나 완성하세욥!> 젠장! 맞아 역사란 개인이 이야기를 참새처럼 구지 재잘 재잘 되지 않아도 스스로 정화시키는 무서운 힘이 있지.. 침묵의 힘... ㅎ. 재잘 데기 시작하면 시끄러워 지겠지만. 우리가 이야기하고져 하는 것은 참새들의 이야기가 아닙니다. 구렁이들과 독사들의 이야기이지요.. <선샹님 그만 넘어가시고 구체적인 증거와 논리로으로 차근 차근 말 씀하세요>.ㅛㅛ.. 맞아 ㅛㅛ.. 지금은 이야기할 분위기가 아닙니다. 역사가 냉엄하면 할 수록 미래는 비례하여 밝아진다는 점만 믿는 수 밖에 없겠지요. 하지만 이야기를 꺼냈으니 끝장을 보아야겠지요. 기나미는 원래 무턱데고 '열정적인' 사람들을 좋아하지 않거들랑요!.,<썬쌍님! 열정적인사람을 더많은 사람들이 더 열정적으로 좋아 하거들랑요?>

BR>
젠장!
진실되게 사는 이 수 많은 예술가들을 사기꾼처럼 취급하여서야! 젠장이지!
그런데 젠장 왜 이리 한글 오타가 나는 지 모르겠습니다. 철자법도 바뀌였고..

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그들의 주장 속에서는 어찌 하여튼 기운의 세계가 개입되지 않는 영역이 있기 때문이기에 ..
붓의 세계가 통할 리는 만무 일테지만.. 그래도 .


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.

지난 두 달 전




건국대 광장구 롯떼호탤 앞
2호선 7호선이 만나는 곳으로 스튜디오를 옮겼습니다.






그림공부,인생공부/연극공부를 하느라
컴퓨터 기록들을 제데로 하질 못했습니다.
동가 숙 서가식 (東家 食 西家 宿) 이였습니다.
글자 그대로 이쪽 집에서 자고 난 다음 저쪽 집에서 그림작업을 하고.
^ㅎ^
바람처럼 떠도는 인생살이.







Kyunam Han (1999-2010), Autumn Leaves 59st
Kyunam han (2000), Acryic on Canvas,
Crane St 에서 그린 그림





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Kyunam Han (2004),
화실의 5층 옥상 뉴욕 주변의 5개의 보로(Borough, 區)가 한눈에 사방으로 보이는 곳,
Jackson Avenue 주변은 태서양의 기운이 정면으로 맞닥드리는,
그래서 항상 활기가 넘치는 곳입니다.




Kyunam HAN  (1999) Columbus Circle
Kyunam Han(1999), ' A view of Columbus Circle from the W.67 St'



<썬쌍님!>
꼴/모양새가 좀 그러시네요.
아무리 부정하여도 이점에선 틀림없는 사실 입니다.
그러나 돌이켜 보면
혼돈과 불안정성이 넘쳤던/넘친/넘을 시점 일수록 오히려 한편으론 좋은 그림들이 나왔습니다..
< 마음이 그러할 수록 더 차분해지기 때문이겠지요?>
어차피 혼돈과 불안정성속에서 벗어나야 하는 싸움이 아닌가?
(썬썅 넴!)그림을 그리시면 됬지 또 생각은 무슨 개뿔 입네까?
급한마음 불안 할 때일 수록 생각을 하면서 살아야 하네
Slow and steady wins the Race.

웬뇰(what the hell)?
갑작스런 남북대결.

^ㅋ^,
좀 시끄럽지 않는 싸움이면 참 좋으련만.
^ㅠ^.


^Q^


오리와 토끼의 대화중 발췌해보겠습니다.(아래 댓글 MFA.OSU Thesis))


제한된 공간(에너지, Space, 무대)에서 실(Figure, 實體)이 커지면 허(Void,餘白, 배경,Ground)는 작아지고




반대로 (the other way around),


빈 여백이 커지면 커질수록
실체(Figure, 實體)는 반대로(Contradictory,Ironically) 작아 집니다.[So what?]

(선샹님! 작품과 삶의 관계도 그렇지유?)
엉터리인 논리도 많이 발견 되지만 아마 노자, 장자, Fluxus, Duchamp, John Cage 에게 물어보는 편이 낫겠죠?
삶을 허황된 언어로 대신 할려는 의도..가끔 되씹어 볼만 합니다.

떠 돌다 살 수 밖에 없는 신세라도 어디엔가 어디선가 어떤 모양으로 남는가/남았던가/남을 수 있는 가를 차분히 그려보고 적어보는 것도 좋겠습니다.
.작가들에겐 무심한 마음으로 낙서(落書)를 하듯...그림을 그려야 하는 상태는
그런 관계(모순,불확실성, 혼돈)의 소산(所産, inevitabilty of life, Necessary results, 緣起,聯,延,烟,然)이라 하겠는데.
침묵 속에서도 역동적인 힘을 추구할 수 있는 모순 속의 모순인 상태일 것입니다.
공중으로 몇 차레 휙 휙 휙 돌고 난 다음
김연아처럼 제자리에 똑바로 돌아 올/설 수 있다면

히이야!

캡!인가요?
(썬샹님! 캡이란 말 이즈음 잘 안써요. 쨩!,
(선쌍님! 정치와 종교도 그럴가유?)
(선썅님! 예술과 정치는요?)

돌고 도는 건 틀림없는데..
하와이 마우이의 돌고래에게 물어보면 되겠네.
이녀석들중 물 속이 아니라 밖으로 뱅글뱅글 짱(?) 튀는 돌고래가 있었어.
좀 주책인데.. 그녀석 팔자가 원래 그렇겠지?
어찌하여튼


언어를 공부하다 보면 생각들이 트일것이구.
그 생각들이 마음을 가다듬을 수 있을 것이구



그러면 평안하게 몸을 가눌 수 있게 되겠습니당.
문자 놀이 하지 말구.
돈 놀이도 적당히 하시구


오늘 삶의 실체에 맞게 너무 지나치지 만 아니하면 됩니다.
(선샹님 지나 치지 않는 시점들을 찾을 수 없어유! 그게 문제예유 아리숭할땐 어찌해유?)
튀던가 아니면 잠수 하던가 대열을 그냥 따라가던가.
(그것 도 못하겠으면유?)
그럴땐 작품 속에서 그냥 놀아보세요
(어떻게유?) 그냥 살아요.

힘들면 참습니다.
슬프면 울고,
, 좋으면 웃고,
졸리면 자고.
두리번 거리는 자유는
어찌하여튼 우리들의 것.

비록 묶여서 사는 노예인생이라 할지라도
떠 도는 바람같은
저 돌고래들 인생같 겠지만.
반드시
그래도 돌고 돌고 두리번 거린 흔적은
어떤 형태로던 소중하고 아름답겠습니다.
(썬썅넴! 그게 잘 안 되면 요?)
계속 그냥 칠전팔기(七轉八起) 반복 하는 수밖에 없죠.?
그렇게 할 수 있습니까? 없습니까?
To Be or Not To be?
무덤에 있는 세익스피어 에게 물어본 다음 나중에 대답해 드리겠습니다.




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Kyunam Han 'Unfinished'(2010)



2010 11. 21 오늘





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Dr. Schnall



2011년을 생각합니다.

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정말 마지막 달이 오는 군요.
누군가 그랬죠? 세월이 화살처럼



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kyunam Han (2010)작 세작품, '롯떼 월드'(2010) '석촌호수(2010)' '가회동' '삼청동(2010)'강남의 겆저리(?)인생 작업들을 끝나고 진작 2011년의 대단원(Culminating Point, Climax)으로 들어가기 직전 수난의 연속 속에서도 사생(?)되지 않고 빛을 본 작품들이니 애착이 갑니다. 잠실 롯떼월드 호텔 연회실 에메랄드 홀 그리고 제이드 홀에 이작품들이 걸려 있습니다.

이제부터 새로운 작품들을 보여 드리겠습니다.
풍경 이외에 아름다운 여인들의 모습들을 그릴 것입니다.
. ^ㅎ^ 일단 뻥(?)같은 뻥(?)으로 오늘 배수진을 쳐 놓았으니
석달 쯤 후엔 첫작품들이 나올 수 있겠죠?


New York, New Jersey의 여인들과 한국의 여인들은 확실히 다른 점들이 많습니다.
그러나 헷갈리게 헷갈리우스(?,기나미) 다룬 다는 점에선 같습니다. ^ㅛ^.




시간은 물처럼 소리없이 흘러간다고?

<선샹님! 아니예요. 이즈음은 총알처럼. 번개처럼, 빛 처럼
광케이블 처럼 흘러갑니당.>
맞아! 이즈음 시간들은 생각할 틈도 주지 않고 훌쩍 매정하게 지나 가지!.
가만이 몰래 왔다가 눈을 뜨면 아침
그리고 눈을 감으면 금방 저녁.
휙 휙 소리도 없이 그림자 처럼 지나가는 시간을 꼭 붙잡아 두는 방법은 어디 없을가 ㅛㅛ?..
ㅜ .
잡혀지지 않는 시간은 썩 저리 물러가라.

. 무정(無情, Indifferent)한 시간들 속의 소리들을 나는 가끔 듣습니다..
The Sound of Silence.(침묵의 소리)



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<선샹님! 침묵이라면서유~?. 침묵이 무슨 소리를 내유~!>
마음속 기억 속에 묻어 있는 소리들일세.
앞을 지향하는 미래의 소리들이기도 하네




Photobucket 환청(幻聽)은 아닐세

휙!
짱!,
쨍!
꽝!
땅!

yo!

어제 동숭동 연희단 거리패 24 주년 기념공연

'경성스타'속의 이야기들(김윤미작 이윤택연출 대학로 얘술극장 대극장)(02-763-1268)
www.STT1986.com 무대극중 장면과 장면 사이의 소리 생각 나시나 ?:
'예술에 밥을 말아 ㅁㅁㅁ먹겠다!'는
'오래비가 동생에게 헤어지자!'하는 대목
남과 북으로 찢어져야 하는 이유..
많은 키워드들은 옌나 지금이나 별 차이 없습니다.
^ㅎ^
사랑에 속고 돈에 울고..

(1) 한강과 허드슨강을 오가는 철새예술가들의 소리없는 절규같기도. ㅋ..

삶의 무대위를 바람처럼 이쪽 저쪽 동가 숙 서가 식 떠도는 소리 바람 따라 산따라 이데올로기 없이 '예술을 밥으로 삼고 [물에 말아 먹고] 산다'는 소리
나는 그 소리들(餘韻,Silence,Voids)이 참 좋습니다. 그럴 때 마다 에너지를 얻습니다.





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jangwei studio/Road to Museum
Kyunam Han (2010) November 20. Jang Wei Studio, Incomplete on going works



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현해탄과 연해주를 오갈때의 예술이나
한강과 태평양을 오가는 오늘의 예술속엔
같은 침묵의 소리가 들리지 않나?.
새들이 나르는 소리들 말일세
<휙>
(2)식민지 시대가 아닌 글로볼 인터넷시대 예상치 않는 사랑을 느낄 때 들리는 LOVE CALL(?)소리
<선샹님!이즈음 왜이리 얼짱!들이 많아유~! <짱!> 얼짱들이 너무 많아요!> 한국의 국운이 필 모양이랍니다.

선남 선녀들의 쌩쌩한 만남의 소리
씽씽한 강남!
홍대. 건대. 연대 <쨍!>

(3) 히이야! 어제본 연극 '경성스타' 멋진 연극 극중 4장..
현해탄을 오가던 태평양을 오가던
'예술에 밥 말아 먹자'
..ㅎ..
새로운 화두
오늘 서울 뉴욕 점찍고 런던돌아 파리건너
^ㅎ^
얼씨구!
<선샹님! 그 대목이 아니예유! 세상 돈이 예술 말아 먹고 산다면 이건 정말 꽝꽝!아닌가유~!
이런 세상 세상이라면 어! <좋네 존네 조아! 가 아니구> 꽝/꼭 막힌 세상이니
예술가들에겐 이건 좋은 상태는 아닙니당.









Kyunamhan(2000), 'Our Town'. acrylic on canvas,









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<꽝> 막힌 일제 식민지 시대의 예술인보담 백번 낳은 이즘세상 그냥 그림 그리시게 그속에 예술을 말아먹던 비벼먹던 쳐먹던. 밥 먹을 땐 소리 내지 말아요!
예쁘게 들자구요









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' Central Park Boogie Woogie II', AC,







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Kyunam Han(1999)'FDR North', AC on Canvas, 82 cm X 100 cm






Photo Image Kyunam Han, '7th Avenue and Columbus Circle'



To say the least:
'This is a rock and roll landscape. Don't you think it is rocking?'
:

At that time I'was interested in the proximities of the grids in paintings:,
line, colors, and forms etc.
Not many people would understand what proximity means.
Let's put it this way: the kind of planar relationship; like a membrane.
One layer,
another layer,
third layer.
Like dimensions.
Incompatible dimensions of different worlds.
Contradictory, contrasting layers.
By putting them together, i think, we can turn painting into the musical state.




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Kyunam Han(2010-2011), ' FDR Boogie Woogie II', AC, 82 cm X 100 cm


In the 'Kyunam Han's worlds of Hybridities: in betweens: Monet, Braque, Mondrian, Kandinsky: Structures and Images':




Kyunam Han(1986)Manhattan Boogie Woogie I
Kyunam Han (1986-1988), 'Manhattan Boogie Woogie', 76" X 80', Oil on Canvas >




There are so many good things and bad things that I could tell you
: two extremes opposites.
It was a bustling Christmas time when I saw Mondrian's'Broadway Boogie Woogie' at the MoMA.
On the way back to the studio, I had a temptation to buy stretcher bars and canvases for the new paintings:
It took about two years to complete :

(1)Manhattan Boogie Woogie (1986-1988)
(2) Four Season 1(1986-1988)
(3)Four Season II(1986-1988)
(4) Dynasty(1986-1988).





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kyunam Han(1986-1988),'Four Season I(1986-1988)', Oil on canvas 68" x 200"


In the Worlds in betweens: Structures and Images: The Point, Line, Planes and Membrane Energies
Line and Shadows: The Empty Spaces in the Voids



Like in music, different instruments coming together,
forming something peaceful,
pleasurable, aesthetic. It's like music.
I can hardly put it in language, but it's there.
That's what art is for.
Music, poetry. This is the poetry of color, this is the poetry of music, and painting as well.









When I am driving, through the window I see a mirror image.
It's like Pirandello's play 'Six Characters in Search of an Author'. It's like another set inside the curtain.
Inside the frame, there's another frame.
The multiplicity of nature to be harmonized. and to be hybridized.

The play within the play.
inside the window there's a visual element, which conflicts with the structural passages,
grid, and the perceptual elements and the literal elements of the image which should get along together...
All elements mixing together.
It's rock and roll: spontaneously,
if it fits together.
I love it.
That's where the mystery lies.
It's there, you know. Painting, music, poetry: it's there.
In our present life.Now Even though I brought it forth through my action,
my labor, my thought, my decision, my conceptual, emotion feeling.
The present encompasses of all.
okay,
No need to talk. let this color be here;
let this line be there.
As it accumulated, converging as a whole, and at the same time culminating into a certain final stage,
final level,
.
That's it.














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Kyunam Han (1986-1987), 'Manhattan Boogie Woogie', 76" X 80', oil on canvas




The basic atomic structural planal formal relationship is so in the macro orbital structural equation as in the atomic world.
As we are living in the vertical, horizontal, and perpendicular concrete reality.
in the planes of the Euclidean Geometry so called,
whether in the macro planetary world or in the micro atomic orbitals world ,
the concepts of passages, grid. voids , perspectives are remaining and operating
within the same contexts of the basics
of principles and equations.

By the time when I was painting this Four Season
I have the slightest ideas on such common issues of the chemistry, physics
esthetics, and mathmatics as well.


Recently my concerns have shifted from the old issues that I have abandoned long time ago toward:
the Issue of the Hybridity:
Hybridization:
Crossover,
Transplantation.
Transculturalization.
Creolization
Transfusion.




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KyuNam Han (1986-1988),'Four Season, part III', 68"X 50", Oil on Canvas,














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KyuNam Han (1986-1988),'Four Season, part II' from far left, 68"X 50", Oil on Canvas,

















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KyuNam Han(1986-1988), 'Four Season', Oil on Canvas, 68" x 200"





















Recently, many photos and
videos were mistakenly deleted from this site
by a third party.
I am working on it and
they will all be restored soon enough.
Thanks for your understanding and continued interest.


^Q^




Reinstalled images and photos of Kyunam Han: Found from the Backup copies.



The Interview was conducted with Mi Yeoun Park on the 9th of March,2008
at the Rubina Hall near to the Lotte World, Jamsil studio in Seoul





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Kyunam Han ,'Once Upon A Time in Samchung Dong',
Acrylic in canvas,173 X 76.5 cm (2010),


The following paintings are to be seen
at the Emerald Conference Hall,Jamsil Lotte World Hotel.




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KyuNam Han (2009-2010),"Once Upon a Time in GaeWhoi-Dong",
173 X 76.5 cm (2010), mixed media,acrylic on Canvas



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Kyunam Han (1990), 'Hannam-Dong', Size 40F, Acrylic. NanJu Collection







I interpret Korean Modernism within the Western cultural context, and vice versa—Western Modernism within the Far Eastern cultural context. I incorporate traditional values and methodologies, such as 'perspective' and 'chiaroscuro' of the West, and 'chun'( 峻,埈, passage and grid) from the East. I blend Eastern isometric perspective with traditional Western linear perspective painting to create a fusion of both depth and flatness, and then apply calligraphic principles to recreate new pictorial images. In my works, I mix two cultural genes together.(Transculturalization) The images of the street include cars, buildings, lights, etc. and the mosaics of fragmented color are carefully demonstrated on the canvas. I repeatedly superimpose and substitute structures and images by overlapping lines of contours. The images, the whole drama of the surface come under the relationship of deconstruction resulted from the effective usage of various grids. At the same time, Eastern conventional calligraphic methodology has been employed as a key element in my painting: 1) Hieroglyphic images correspond with structure and meaning. 2) Signified becomes signifier. 3) Meaning correlates with form resulting in an altered sense of totality, providing both irony and ambivalence. 4) Calligraphic gesture creates action. 5) Binary opposition issues transform into new perceptions; There are continuous processes of forms deconstructed and reconstructed of their meanings occurring between the elements of hues, gradation, textures, strokes, broken lines, etc. I recreate my own form of pictorial hieroglyphs. I highlight the drama of my paintings by introducing dots on dots, orchestrating a symphony with such contradictory variances in theme in order to create Hybridities existing between East and West: Synthesis of Opposites: a) figure/ground; b) image/structure; c) signifier/signified; d) internal/external; e) language/being; f) perspective/flatness. Together, these ambivalent elements are converging into one single totality. I am a Formalist and Multicultural Pluralist. I have searched for new generative sources within a global cultural context in order to invent a new way of making an art form from my past and present, which, in art vernacular, can be deemed Modernist, Post-Modernist, or Neoclassical Modernist. Perhaps a better way of saying this is that I am a “genetic engineer in painting".


This is a rock and roll landscape.
Don't you think it is rocking?
[Painting] is like music. One note and then another.
Otherwise, it won't work.

Every day. The more you touch it, the more steps it advances.
Complexity. Unpredictability.
You can hardly measure it.
But as you keep going, it leads you where to go.

I'm interested in the proximity of grids,
line,
colors,
and forms.

Not many people does not seem to understand what proximity means.
Let's put it this way: the kind of planar relationship;
like a membrane.
One layer, another layer,
third layer.
Like dimensions.
Incomparable dimensions of different worlds.
Contradictory, contrasting layers.
By putting them together, you can turn painting into the musical state.
You can hardly put it in language.
Like in music, different instruments coming together,
forming something peaceful, pleasurable, aesthetic.
It's like music.
You can hardly put it in language,
but it's there.
That's what art is for.
Music, poetry.

This is the poetry of color,
this is the poetry of music, and painting as well.









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Kyunam HAN, "Once upon a time in Seoul, Seouckchon Lake"( 2009-2010),
Acrylic on Canvas, 140cm x 230cm













at Saddle River(2009),
<임 종빈 변호사/이영희 부부의 콜렉션, 'Dynasty', 'Old Palace', 'Four Season III'







These paintings have long exhibition histories including 1988 Sun Gallery ;
Walker Hill Art Center in Seoul; 1991 Blue Hill Art Center,Pearl River New York;
1996 Artsforum gallery.New York;
1998 Gallery International 57 New York;and Thorpe Intermedia gallery, Sparkill, New York and many others




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Conventional Values, Preexisting Criterions : On the Issues of 'Hybridization in the 21st Century' in Painting.


-I am defining hybridity.


새로운 미래지향적 창조의 흐름은 기존의 전통의 둥지를 떠나 새로운 것/곳 그리고 멀티 공간, 시간, 국면,조건, 상황과 만날 때 생긴다고 봅니다.

New settings,conditions and Surroundings:
-the artist should be free from the yolk of conventional values , preexisting aesthetic criteria and other counter parts:
-In order to create new settings, conditions and surroundings which are more appropriate to the new given circumstantial reality, one must find common ground and catalytic elements.
서로 다른 성격의 것들(Opposites)이 합(合 Synthesis, Fusion, Pollination, Cross-Over, Transculturalization,and Creolization)이 되어 진 다음 또(At that Moment) 다른 차원의 새로운 하이부리드(Hybridization)를 만들수 있는 작은시점, 방향(Turning Point,Generative Force)이 이루어진다/주어진다고 봅니다.
-There are some forms of qualitative and quantitative unbalances existing between them for which the artist is consequently entitled to counterbalance them, striving toward newfound harmony for future developments. I call this situation the Turning Point, in which the artist exhibits a Generative Force that makes this transition possible, and without disruptive chaos. The artist works within a state of ambivalent uncertainty and experiments empirically, until he discovers the appropriate way in which to proceed, eventually developing his own original artistic form. 작은 시점이란 상반된 두 요소 (양면적,이율배반, 혹은 혼돈된 상태, Incompatible State,Chaos, Irrational,Ambivalent, Contradictory, Dichotomies)가 When the artist reaches such an incompatible state of ambivalence and..., this means the point where the artist has no choice but to to abandon and negate the preexisting value systems. 서로의 가치와 위상이 부정된(irreconcilable) 시점(時,詩,視點 -time, space, and angle, point of view/viewpoint, metaphoric qualities, qualitative order)을 의미합니다. 이쪽에서 저쪽으로 혹은 과거에서 현재 그리고 미래지향적으로 해체/대기되었다가 Inevitably, his concern shifts from old to new, from then to now, and from there to here, thus creating a transculturalized and creolized transcendent reality. 새로운 모습/양식으로 통합/재창조(Resurrection, Rebirth, Reconstruction)되는 시점을 말합니다. 초월과 상승을 지향하는 우리 모두(?)의 의지/실천/개혁/표상/선택/창조적 욕구가 강하게 있기 때문일것입니다. The more artists who are willing to attempt at innovation, the more positive the expected result will be. Synthesis of Opposites: Deconstruction and Reconstruction: Transculturalization Steps: On my painting The metaphoric substances are ambivalences and contradictions: Dichotomy of everything : Absurdities in mind In one hand, 'line' is functioning as the means of the image making — on the other hand it transforms into the form of hieroglyphic stance ;diagonal, vertical, horizontal proximities in which forms, images and figures are playing to be as such a role as character or as such ; of symbols as monads, fundamental elements, basic building blocks : in transient state of: 'writing through'(草書的,書法的) starts to create a new steps; the elements are gradually converging and transforming into the oneness of single totality: to fuse metaphoric conceptual world into/with the meaning of picture world (書畵同原,源,元),As the bases of generative sources when the picture elements of the painting incorporate with the underlying meaning of the general structures(寫意) it presents as well as represents to us a sense of resemblance of that object(形似)prior to the encountering moment of the subject: Natural state of being of the artistic mind comes after to be where the relativities (畵意,心床,想,狀,像,商,相) (underlying intention of image making, state of mind, imagination, orderly manner of object, images of object, relative proximities of the line, and other given elements such as color, texture, rhythm, repetition) for existing between means(畵風,方法)and ends(結果, 意圖) are all in one : (圓融一體, 整體功能, 主客合一,有無相通,三生萬物) 두 문화권 의 느낌/관행을 섞기란 마냥 어렵기도하고 민감하기도 한 끝 없는 과제/도전이기도 합니다 Mixing two cultural conventions and traditions is very difficult for the artist to do because it must be done in a very careful manner and because the gap between cultural contexts can be so broad. 어찌하여튼 서울 과 뉴욕풍경의 느낌을 여기/저기에서 우선은 기본틀을 갖추기위한 실험을 이쪽 저쪽 상반된 각도에서 적용하여 보았습니다. Even though different cultures are sometimes contradictory and incompatible, the more this is true, the more I find myself challenged to discover the common ground between the two, and the specific points in which the two poles meet. I think that this middle ground is ultimately the space in which two cultures that are at odds can meet peacefully face to face and see reflections of themselves in other, thereby mollifying conflicts that had arisen as a result of perceived irreconcilable differences. I have three fundamental principles in the way of demonstrating perspective:


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산수화의 삼원법기법,
Western linear perspective that Renaissance artists developed 서구의 원근법,
Eastern isometric perspective method that Hindu-Buddhist developed
농담 기법(Chiriascuro),
Renaissance technique
동서양의 선,면의 메타포/영상/언어개념을 혼합(하이브리드,Hybridization)합니다.
I create a state of hybridization existing between Eastern and Western cultures 동양의 묵의 농담(Gradation)기법을 아크릴에 혼배합니다. These are used by traditional Chinese and Korean master painters of the landscapes









Kyunam Han (2004), Central Park S  59st
Kyunam Han (1990), Central Park S 59st", Acrylic on canvas, with Hanji Paper,

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Chong Pyong Studio.Kyunam Han(1990)'Long life',acrylic on Hanji Korean Rag paper;
Multichrome Screen Painting; 24 layers of stone colors
applied with the silk screen making processes;



Kyunam Han (1999), Carriages on Central Park
Kyunam Han (1999), 'Carriages on Central Park, acrylic on canvas ,50F





'Han River Nam June Paik Media Bridge Exhibition '
Closing Ceremony

Today Nov.24, 2010




Photobucket 에효! 뭘 먹고 자랐기에 이렇게들 외계인처럼 키가 크신가? 한달이 넘게 전시했던 '백남준 한강 미디어 다리' 쫑 파티
자금 준비와 시민들 여러분들의 마음 성원여하에 따라 성패여부가 달려 있을 것입니다.(세부플랜 아래댓글참조)


At
the Exhibition Hall:

Boutique Monaco Bldg. 6:30 PM

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Kyunam Han(2010-2011), ' Central Park Boogie Woogie II', AC, 82 cm X 100 cm

"In the Worlds in betweens: Macro and Micro: Structures and Images':


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Susanna Lee Swissperfection, Kim T. Photograper Kim Kwanho Author
Jisong Lee.



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Jung Tae Lee and Sculptor Seoung Woo Hwang





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Chris and Carol, Fulbright Scholar and Editorial Model from New York <


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kyunam Han (2010), ' Caricature of Chris',Brush Pen on paper.,


서울 속엔 작은 Global 세계들이 들어서고 있습니다. 상주하고 있는 외국인 예술인들의 Inner Circle들이 구석구석에 있습니다. 동숭동, 연대, 이대, 홍대, 이태원, 강남, 건대, 논현동. 압구정동 , 청담동,신림동, 최근에는 부쩍 많은 외국인들... 유롭, 미국, 제 3세계 아프리카, 라티노계 유학생들이 한국의 현실, 역사, 한국학, 한국어,한국 문화, 외 다양한 분야의 강좌를 주요대학에서 섭취하고 있습니다.이제 한국은 여러면에서 중요한 중심적 위치에 있습을 실감하고 있습니다.
. 이즈음의 변화는 새롭게 변모하는 풍경을 읽게 됩니다. 연대. 이대. 홍대. 서울대. 고려대. 성균관대 근처는 구석 구석 많은 외국인들의 클럽,식당. 빠, 카페들이 들어서고 있습니다. 뉴욕 무대세트의 거리풍경이 갑자기 홍대 동숭동 길거리에 주어진듯한 착각이 들 때가 많습니다. 지구 저편에서 건너온 음악,연극, 미술 분위기,...이제 서울은 21세기 GLOBAL 문화의 HYBRIDIZATION 혹은 HYBRIDITY의 모습들이 꿈틀데고 있는 현장이 되었습니다. 역사와 아우르는 서양 문화와의 조화속에 도도히 흐르는 문화 예술의 대하 드라마를 보고 있는 듯 합니다.... 동서남북 CROSS CULTURAL의 단계를 이미 훨씬 지나 새로운 세계문화의 STEM CELL을 다방면에서 증거하고 있습니다. 어떤 TRANSCULTURAL, TRANSPLANTATION, TRANSFUSION 의 다문화단계의 시대가 들어서게 될 지 궁금합니다만. 작년처럼 2011년에도 많은 국제문화행사가 서울에서 개최되었으면 합니다.





붓으로 그린 드로잉.

풍경과 산수를 그릴 때의 맛과 전혀 다른 맛.
이제부터 주위의 인간들/친구들을 나의 스타일로 적어 놓겠습니다.
피카소와 고호등 서구 작가들과 다른 동양 선 (Caligraphic)의 필치 ( Brush Stroke)를 구사한 스케치... .
그래서 클래씩 전통(붓, Brush painting)은 계속 이어져야 합니다.
다른 소재이던 언어이던 개념이던 용도이던간에 만남(Compatibility)의 영역(Hybridization, Creolization)을 가능한 데로 그 영역을 넓혀가야 하겠습니다.



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디지털의 영역중 홀로그램의 세계는 꼭 현대 미술이 정리해야 될 부분일 것입니다.

<선샹님! 아나로그 보단 디지털 그리고 디지털보담 또 다른 세계가 있다면 그게 뭘가요?>



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빛과 그림자의 세계라고 수차례 이야기 했잖우요?
홀로그램 으로 시작되어 11 차원의 세계를 향하는 순수한 기운생동의 세계일 것일세...

캔버스 가로 세로에 올리는 선(線,Line))과
색(色)의 개념의 세계를
삶의 실제적 공간(Living Stage, Empty Space)위에 도입하여
순수한 색과 빛의 세계를 마음데로 분해/ 종합 오케스트레이션 할 수 있는 테크놀로지가 있다면
이 빈 공간속에 붓질 하듯 입체성을 만들수 만있게 된다면...

히이야!








한규남의 그림이 허공에 춤을 추게 되리라 분명합니다.
광신자 처럼 믿어 왔습니다. 그리되면 연극무대 건축무대 는 혁명의 세계가 될텐데
선을 연출하여 무대위에 올리는 작업은 어떻게 해야 될가요?
이문 제에 대하여는 오래전부터 구상하여 왔습니다만. 과학과 미술의 뚜엣이 되겠는 데
잘 못되면 어정쩡 '겉저리예술' 이 되거나 '짜집기 사이비 예술들'이 되고 말 것이 분명합니다..

이분야는 내공이 아니라 실험이 전제 되어야 할 것입니다.
내공이란 삶 속에 쩔여진 고통들이 순간 순간 침묵속에 점철 승화된 긴 흔적이라 하지만 그것만 가지고.
.초연한 힘. 빛/그림자/에너지가 함께 침묵 속에 생동하는 세계를 만들 수 있는 것은 아닐테고...


컴퓨터 디지털 자존심의 나라에서 지금 쯤이면 홀로그램을 만들 수 있을 터인데..?
앞으로의 한국미술의 방향은 비디오 미술의 세계에서 한 수 더 나아간 심령.심혼의 세계가 전자 디지털과 접목된 세계이여야 할것입니다.






ㅎ.
별도의 뒷풀이가 있었을 뿐..
듀상/Fluxus/John Cage
문화는 여전히 기나미에겐 겆저리 문화처럼 보이는 이유는 뭣때문입니까? 아래에 관계된 기사들을 발췌하여 보았습니다.

=view&current=IMGP
^Q^
http://www.archdaily.com/82176/paik-nam-june-media-bridge-planning-korea/

10.11.28 삭제
^Q^
http://www.archdaily.com/82176/paik-nam-june-media-bridge-planning-korea/looking_toward_the_national_assembly_builing/

10.11.28 삭제
annefrench
The prominent contemporary art collector Dr. and Mrs. Schnall of Palm Beach celebrating the installation of their purchase of painting of New York scene by Kyu Nam Han. I attached the photo with email to you.

10.11.29 삭제
^Q^
http://s230.photobucket.com/albums/ee32/kyunamhan/LIC%20-%20Crane%20Renovation/?action=view&current=CraneStudioAccident335.jpg#!oZZ44QQcurrentZZhttp%3A%2F%2Fs230.photobucket.com%2Falbums%2Fee32%2Fkyunamhan%2FLIC%2520-%2520Crane%2520Renovation%2F%3Faction%3Dview%26current%3DCraneStudioAccident044.jpg

10.11.30 삭제
^Q^
점,선,면에 관하여

http://www.kyunamhan.org/inobbs/bbs_read4.php?code=s_001&nbd=s_001&uid=2911&page=1&start=0&thread=2765&no=2629&field=&key=&mode=&login_mode=&list_count=&dbcal=no

10.12.08 삭제
^Q^
I interpret Korean Modernism within the Western cultural context, and vice versa&#8212;Western Modernism within the Far Eastern cultural context.
I incorporate traditional values and methodologies, such as 'perspective' and 'chiaroscuro' of the West, and 'chun'( 峻,埈, passage and grid) from the East.
I blend Eastern isometric perspective with traditional Western linear perspective painting
to create a fusion of both depth and flatness,
and then apply calligraphic principles to recreate new pictorial images.

In my works, I mix two cultural genes together.(Transculturalization)
The images of the street include cars, buildings, lights, etc. and the mosaics of fragmented color are carefully demonstrated on the canvas.
I repeatedly superimpose and substitute structures and images by overlapping lines of contours.


The images, the whole drama of the surface come under the relationship of deconstruction
resulted from the effective usage of various grids.


At the same time, Eastern conventional calligraphic methodology has been employed as a key element in my painting:

1) Hieroglyphic images correspond with structure and meaning.
2) Signified becomes signifier.
3) Meaning correlates with form resulting in an altered sense of totality, providing both irony and ambivalence.
4) Calligraphic gesture creates action.
5) Binary opposition issues transform into new perceptions;

There are continuous processes of forms deconstructed and reconstructed of their meanings
occurring between the elements of
hues,
gradation,
textures,
strokes,
broken lines, etc.
I recreate my own form of pictorial hieroglyphs.
I highlight the drama of my paintings by introducing dots on dots,
orchestrating a symphony
with such contradictory variances in theme
in order to create Hybridities existing between East and West: Synthesis of Opposites:


a) figure/ground;
b) image/structure;
c) signifier/signified;
d) internal/external;
e) language/being;
f) perspective/flatness.

Together, these ambivalent elements are converging into one single totality.

I am a Formalist and Multicultural Pluralist.
I have searched for new generative sources within a global cultural context
in order to invent a new way of making an art form
from my past and present,
which,
in art vernacular,
can be deemed Modernist,
Post-Modernist, or Neoclassical Modernist.

Perhaps a better way of saying this is that I am a “genetic engineer in painting".



Hybridization


새로운 미래지향적 창조의 흐름은



-I am defining hybridity


기존(Conventional Values, Preexisting Criterions) 전통의 둥지를 떠나



-the artist should be free from the yolk of conventional values and preexisting aesthetic criteria


새로운 것/곳(New settings,conditions and Surroundings)멀티 공간 시간 국면 조건 상황과 만날 때 생긴다고 봅니다.



-In order to create new settings, conditions and surroundings which are more appropriate to the new given circumstantial reality, one must find common ground and catalytic elements.

서로 다른 성격의 것들(Opposites)이 합(合 Synthesis, Fusion, Pollination, Cross-Over, Transculturalization,and Creolization)이 되어 진 다음
또(At that Moment) 다른 차원의 새로운 하이부리드(Hybridization)를 만들수 있는 작은시점,
방향(Turning Point,Generative Force)이 이루어진다/주어진다고 봅니다.



-There are some forms of qualitative and quantitative unbalances existing between them for which the artist is consequently entitled to counterbalance them, striving toward newfound harmony for future developments.


I call this situation the Turning Point, in which the artist exhibits a Generative Force that makes this transition possible, and without disruptive chaos.

The artist works within a state of ambivalent uncertainty and experiments empirically, until he discovers the appropriate way in which to proceed, eventually developing his own original artistic form.




작은 시점이란 상반된 두 요소 (양면적,이율배반, 혹은 혼돈된 상태, Incompatible State,Chaos, Irrational,Ambivalent, Contradictory, Dichotomies)가

When the artist reaches such an incompatible state of ambivalence and..., this means the point where the artist has no choice but to to abandon and negate the preexisting value systems.



서로의 가치와 위상이 부정된(irreconcilable) 시점(時,詩,視點 -time, space, and angle, point of view/viewpoint, metaphoric qualities, qualitative order)을 의미합니다.

이쪽에서 저쪽으로 혹은 과거에서 현재 그리고 미래지향적으로 해체/대기되었다가



Inevitably, his concern shifts from old to new, from then to now, and from there to here, thus creating a transculturalized and creolized transcendent reality.






새로운 모습/양식으로 통합/재창조(Resurrection, Rebirth, Reconstruction)되는 시점을 말합니다.
초월과 상승을 지향하는 우리 모두(?)의 의지/실천/개혁/표상/선택/창조적 욕구가 강하게 있기 때문일것입니다.



The more artists who are willing to attempt at innovation, the more positive the expected result will be.



Synthesis of Opposites: Deconstruction and Reconstruction:
Transculturalization Steps:


On my painting
The metaphoric substances are ambivalences and contradictions:
Dichotomy of everything : Absurdities in mind


In one hand, 'line' is functioning as the means of the image making &#8212; that is, , ?
on the other it transforms into the form of hieroglyphic stance
;diagonal, vertical, horizontal proximities
in which forms, images and figures are playing to be as such a role as character or as such ;
of symbols
as monads, fundamental elements, basic building blocks :
in transient state of: 'writing through'(草書的,書法的)
starts to create a new steps;
the elements are gradually converging and transforming into the oneness of single totality:
to fuse metaphoric conceptual world into/with the meaning of picture world (書畵同原,源,元),As the bases of generative sources
when the picture elements of the painting incorporate with the underlying meaning of the general structures(寫意)
it presents as well as represents to us a sense of resemblance of that object(形似)prior to the encountering moment of the subject: Natural state of being of the artistic mind comes after to be
where the relativities (畵意,心床,想,狀,像,商,相) (underlying intention of image making, state of mind, imagination, orderly manner of object, images of object, relative proximities of the line, and other given elements such as color, texture, rhythm, repetition) for existing between means(畵風,方法)and ends(結果, 意圖)
are all in one : (圓融一體, 整體功能, 主客合一,有無相通,三生萬物)




두 문화권 의 느낌/관행을 섞기란 마냥 어렵기도하고 민감하기도 한 끝 없는 과제/도전이기도 합니다



Mixing two cultural conventions and traditions is very difficult for the artist to do because it must be done in a very careful manner and because the gap between cultural contexts can be so broad.


어찌하여튼 서울 과 뉴욕풍경의 느낌을 여기/저기에서 우선은 기본틀을 갖추기위한 실험을 이쪽 저쪽 상반된 각도에서 적용하여 보았습니다.



Even though different cultures are sometimes contradictory and incompatible, the more this is true, the more I find myself challenged to discover the common ground between the two, and the specific points in which the two poles meet. I think that this middle ground is ultimately the space in which two cultures that are at odds can meet peacefully face to face and see reflections of themselves in other, thereby mollifying conflicts that had arisen as a result of perceived irreconcilable differences.


한규남 회화의 기본원칙은

I have three fundamental principles in the way of demonstrating perspective:


산수화의 삼원법기법,

Western linear perspective that Renaissance artists developed


서구의 원근법,

Eastern isometric perspective method that Hindu-Buddhist developed


농담 기법(Chiriascuro),

Renaissance technique


동서양의 선,면의 메타포/영상/언어개념을 혼합(하이브리드,Hybridization)합니다.

I create a state of hybridization existing between Eastern and Western cultures


동양의 묵의 농담(Gradation)기법을 아크릴에 혼배합니다.

These are used by traditional Chinese and Korean master painters of the landscapes

10.12.15 삭제
^Q^
http://eprints.qut.edu.au/30136/

10.12.21 삭제
^Q^
http://www.transcomm.ox.ac.uk/working%20papers/hannerz.pdf

10.12.21 삭제
^Q^
http://farm2.static.flickr.com/1096/562979024_45e192d265_b.jpg

11.01.01 삭제
^Q^
몬드리안의 '브로드웨이 부기우기(1943)' 그리고 Kyunam Han 한규남의 '맨하탄 부기우기(1988)'를 비교하여 보십시요


Piet Mondrian
Dutch, 1872-1944

Broadway Boogie Woogie, 1942-43
Oil on canvas, 50 x 50"

Given anonymously

Gallery label text, 2006:
Escaping to New York after the start of World War II, Mondrian delighted in the city's architecture, and, an adept dancer, was fascinated by American jazz, particularly boogie&#8211;woogie. He saw the syncopated beat, irreverent approach to melody, and improvisational aesthetic of boogie&#8211;woogie as akin to his own "destruction of natural appearance; and construction through continuous opposition of pure means&#8212;dynamic rhythm." Bands of stuttering chromatic pulses, paths of red, yellow, and blue interrupted by light gray suggest the city's grid and the movement of traffic, while the staccato vibration of colors evokes the syncopation of jazz and the blinking electric lights of Broadway.


Publication excerpt from The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 187:

Mondrian arrived in New York in 1940, one of the many European artists who moved to the United States to escape World War II. He fell in love with the city immediately. He also fell in love with boogie-woogie music, to which he was introduced on his first evening in New York, and he soon began, as he said, to put a little boogie-woogie into his paintings.

Mondrian's aesthetic doctrine of Neo-Plasticism restricted the painter's means to the most basic kinds of line&#8212;that is, to straight horizontals and verticals&#8212;and to a similarly limited color range, the primary triad of red, yellow, and blue plus white, black, and the grays between. But Broadway Boogie Woogie omits black and breaks Mondrian's once uniform bars of color into multicolored segments. Bouncing against each other, these tiny, blinking blocks of color create a vital and pulsing rhythm, an optical vibration that jumps from intersection to intersection like the streets of New York. At the same time, the picture is carefully calibrated, its colors interspersed with gray and white blocks in an extraordinary balancing act.

Mondrian's love of boogie-woogie must have come partly because he saw its goals as analogous to his own: "destruction of melody which is the destruction of natural appearance; and construction through the continuous opposition of pure means&#8212;dynamic rhythm."

11.01.01 삭제
^Q^


This is a rock and roll landscape. Don't you think it is rocking?

[Painting] is like music. One note and then another. Otherwise, it won't work.

Every day. The more you touch it, the more steps it advances. Complexity. Unpredictability. You can hardly measure it. But as you keep going, it leads you where to go.

I'm interested in the proximity of grids, line, colors, and forms. People don't understand what proximity means. Let's put it this way: the kind of planar relationship; like a membrane. One layer, another layer, third layer. Like dimensions. Incomparable dimensions of different worlds. Contradictory, contrasting layers. By putting them together, you can turn painting into the musical state. You can hardly put it in language. Like in music, different instruments coming together, forming something peaceful, pleasurable, aesthetic. It's like music. You can hardly put it in language, but it's there. That's what art is for. Music, poetry. This is the poetry of color, this is the poetry of music, and painting as well.

When you are driving, through the window you see a mirror image. It's like Pirandello. It's like another set inside the curtain. Inside the frame, there's another frame. I like that aspect. We saw the play, and I changed it after I saw that one. The play within the play. In this case, maybe, inside the window there's a visual element, which conflicts with the structural passages, grid, and the perceptual elements and the literal elements of the image. All elements mixing together. It's rock and roll: spontaneously, it fits together. That's where the mystery lies. It's there, you know. Painting, music, poetry: it's there. Even though I brought it forth through my action, my labor, my thought, my decision, my conceptual, emotion feeling. I decided this: okay, let this color be here; let this line be here. As it accumulated, converging as a whole, and at the same time culminating into a certain final stage, final level, beyond which you cannot proceed or push [progress] further, that's it, upon which I stop painting. No where to go. If you try to go further, the gridity will screw it up and destroy the entire course of the aesthetic, natural sense of nature and nurture.

Anyway, it's about to be finished. Maybe a few layers more, then I'll finish it.

From this point on, I want you to record it and scrutinize how the final stage changes it.

It's like a marathon runner: at the last stage, that's where the key always is. The conclusion, the solution, the goal. Why this guy is making these paintings from the age of two, and until now. This is the culminating point. The whole painting in this section: I can say it's the summit point. The last painting is very important. Like Beethoven's 9th. Mozart. You name it. ... I like this New York scenery; you'll see.

(Ajjuma enters)

This is basic ground. This is the first plane in my set. You know how many planes are involved? Probably, a lot. For the last two years, I've kept bringing, adding, breaking up.

Maybe next time when we have a good camera. You always vibrate, man. I don't blame you, you do it all by hand.

These paintings are going to be really incredible. This whole eastern landscape, I just transform into western means; western color and spacial concept, onto the eastern imagery and the eastern way of constructing the landscape painting. They have their own way of building up the space. I would call it isometric perspective, In eastern tradition, the perspective, so called, when the Venetians invented it during the Renaissance, that perspective was invented by the theater designer by the way. The remote scenery. There is a converging point, the vanishing point. You feel like your eyes see endless space, perceptually. But Eastern people&#8212;they think they are sitting here with everything equally distributed. Like [Mandela] concept, meaning you are in the center, and everything else is surrounding in a circling relationship. You know when you see the Buddhist painting? One big thing in the center and all of the minor things narrating, surrounding it. The Egyptians, however, they call parallelism, they build up the Egyptian wall, if you scrutinize the hieroglyphic walls, they wrote and filled it up with language, the language in that case, symbolic pictures, stating whatever they wanted to say, considering each sign as each word in the language. Unfortunately, in Greek, eurocentric culture, each word is not a picture, each word is phonetic. On the other hand, in the Chinese culture, or Egyptian, the language itself is a picture. So, like Wittgenstein, or John Sur, they are questioning language as a tool to express something, and the picture differentiates it. It's a very complicated level when the language becomes a symbol, relates with the meaning, relates with a picture. In eastern culture, they already recongize it. Language is a picture. Writing and painting is the same. Isnt that interesting? But in eurocentric culture, in the 19th century, by the time the Cambridge philosopher Wittgenstein brought that issue, picture theory, with that very philosophical linguistic old world level [perspective].

But, if you look carefully at this painting, i'm like Yu Na Kim. Jumping and turning in the air The triple lutz. Picture, language. And again, picture, language. You can combine it; you can mix it up. And sometimes it doesn't matter whether it's picture imagery as an element functioning or if it's just functioning to deliver a meaning as a picture&#8212; a temple or wall. The real thing is like an orchestra, a symphonic, musical, symphony #9&#8212;or just opera, voice as a meaning, pure abstract aesthetic quality of sounds&#8212;and I am orchestrating by using all possible elements.

11.01.03 삭제
^Q^
In Betweens: Music,Painting,Languages,


The History of Rock Music - The Eighties


http://www.scaruffi.com/history/cpt417.html

11.01.03 삭제
.
http://www.anne-french.com/1563.htm

11.01.06 삭제
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[ 총게시물 : 233 | page : 10 ]
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순번(No) 제목(Subject) 작성자(Name) 조회(Hit) 파일(Data) 등록일(Date)
233   2016 Quantum Painting: TMS + CFP ^Q^   1269 16/10/05
232   IV. Open Studio (2015) Key words and Image ^Q^   2311 16/07/22
231   Open Studio (2015)III ^Q^   2084 16/09/19
230   Open Studio Pamplet (2015) II 정리중입니다 ^Q^   2049 16/09/19
229   Studio Opening 2015 New Rochelle (2) ^Q^   4637 16/07/22
228   Open Studio 2015 Pamplet (1) 정리중 ^Q^   4273 16/08/04
227   Seoul Lake Palace Studio at Lotte: A Poli ^Q^   4746 16/09/19
226   A Concept of the Revolution :the Limits ^Q^   3481 15/08/23
225   Nano, Real, Astro in between the worlds: B ^Q^   7842 16/11/01
224   Going Back to the Beginning of the Time [1] ^Q^   5302 13/08/25
223   Synesthesia.. I hear what I see in my mind [1] ^Q^   15254 16/08/04
222   A Spring Waltz in Betweens; New Rochelle [7] ^q^^g^   5083 15/08/25
221   New York and Seoul: in Between [3] ^Q^   41442 15/08/25
220   Jang Chung Dong Paintings ^Q^   5561 13/03/12
219   The Brief Sketches of Preview Opening ^Q^   7040 13/02/25
218   Kyu Nam Han talks on Kyu Nam Han's Painti ^Q^   67009 13/02/03
217   Kyu Nam Han's Works On Progress in Seoul ^Q^   6643 14/06/12
216   New Oil Paintings :The Three Metamorphoses ^Q^   7027 13/01/30
215   New Paintings of 'Times Square' in Seou ^Q^   5163 12/11/25
214   The Villages of Northern Bank of Seoul H ^Q^   9709 14/09/15
213   2012 Thanksgiving Day in Seoul, Bongsan Gu ^Q^   6211 12/10/17
212   The Converging series KIAF 2012 [1] ^Q^   6721 12/09/30
211   East West Institutes for the Arts (1) ^Q^   8262 13/09/13
210   East West Institutes for the Arts and Kore ^Q^   9117 12/08/23

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